In order to give a good mental image of what Mary and Mrs. Hawking are supposed to look like, I’ve been working to create images that are as representative as possible of what I see in my head. Though of course when casting a show one must go with the actress with the best ability to portray the character, the photographs on this website are pretty accurate representations of what I imagine them looking like– Mary is tall and fit with dark hair and freckles, with a kind, pretty face, while Mrs. Hawking is small and powerful, with arresting features behind wavy blonde hair and sharp green eyes.
I recently held a photo shoot to capture more images of the characters with my beautiful models Frances Kimpel as Mrs. Hawking and Charlotte Oswald as Mary. They were kind to oblige me, and they are both lovely, perfect for the look of the characters, and wonderful to work with. I specifically wanted shots depicting scenes that occur in the course of the play.
I photographed them in a number of costumes, but one that turned out especially well was Mrs. Hawking’s widow’s gown. I do most of my costuming by adapting pieces I find in thrift stores to my purposes. This costume is based on an original dress I honestly kind of hated it on sight. On the hanger it looked like a garbage bag, black and shiny and chintzy. I have kind of a love-hate relationship with dresses made of moire– an iridescent fabric that looks like it has water ripples or wood knots in it –because I always find it pretty when I first glance at it, but the longer I look at it, it looks cheap. But it had a lot of the details I’m looking for in the basis of a Victorian gown, a ruffled collar, puffy sleeves, a cloth belt at the waist.
I bought it without high hopes for it. It just looked so damn tacky in the store. The checkout girl used it to wrap a glass decanter I bought in the same trip, and I never even bothered to unpack it. When this photo shoot rolled around, I hadn’t even tried it in combination with the other elements of the costume, so for all I knew it wasn’t going to work at all. But when I tried it on Frances, with black long gloves and over two layers of full tiered skirts kindly lent to me by fellow costumer Jenn Giorno… it transformed. Charlotte pinned the collar closed with a black and silver brooch, and cut a slit up the back of the dress so that it spread out over the skirts, and they even puffed out through the slit in the back to make a sort of bustle-y detail. The moire looked appropriate for the sort of tapestry appearance of fancy Victorian fabric. All together, it made for a shockingly beautiful, and shockingly accurate-looking, costume. I’m really pleased at how well it turned out, but also that I think this is evidence that my eye as costumer is developing, as I’m getting better and better at spotting pieces that will work in combination even if I never actually see them together until they’re fulling assembled.